Tubular Bells

I had an ex who considered this the pinnacle of musical achievement. He turned out to be about as tedious as this album is. I get why it's on the list, it was sort of groundbreaking in its day. I just never got it, it rouses nothing in me. I hear a bunch of boring musical wankery, and just want to yawn and push it aside.

"Thanks for the recording, Mike. Great tune. Love those bells! We can really do something with them... Oh sure, the whistles are cute, too... Uh-huh, and the guitar at 14 minutes... Yep, the jig at the end was, er, also amusing... Nice stuff. Sure. I'm just saying that as far as quote unquote songs, it's obvious those first four minutes do the heavy lifting, so we should run with those. Maybe work in a few of the other bits. That'll shave off a cool forty-four minutes or so. Then we'll be sitting pre... Sorry, say that again... Oh. Really? All of it?... I see... Uh-huh... I see... Mike, that's *very* long. I'm not sure peope will be able to tolerate it once the main bit is over so early... Mike?... Mike?... Shit."

Stunning. A prefect work of art. The man was 19 when he composed the album and it took him 6 months. An absolute masterpiece

Based on this project, I’m starting to see “he played all the instruments!” as a warning sign, not a recommendation.

Good shit, 20+ minute songs are where it's at. Favorite track is Tubular Bells lol

At its best, it reminds me of things I would rather be listening to; at its worst, it reminds me how bad of a decision it was to listen to this instead of those other things. Maybe Oldfield didn't understand that announcing instruments doesn't make the theme they're riffing on sound any better, it only makes me regret that I have to listen to another round of it before I can finally finish the album. I only two things notable: the sequence in Tubular Bells Pt. II with the grunted vocals and the fact that a child-rapist used the first minute as a theme for his movie about demon possession. The former only happened because Oldfield got himself drunk enough to accidentally do something interesting. The latter's what brought us here, listening to an album that makes me wish some priest could exorcise the memory of this bland music out of my fucking head.

When the drums kick in during Bells pt. 2 and that guy starts grunt-singing and howling in whatever language that was… I finally had my first genuine WTF moment with this entire list. And I liked it! This album really runs the gamut of the ridiculous and the sublime, and the whole time I kept thinking of A) The Exorcist B) that Oldfield should make a record with Tortoise and C) that Oldfield should make a record with Mike Patton. All enjoyable thoughts in my book.

“Tubular Bells” by Mike Oldfield (1973) Autobiographical review: I bought this album when it came out in 1973, chiefly because of the brilliance of the single release (used as theme music for the movie “The Exorcist”), but I’m pretty sure I never listened to the whole album. I lacked the patience. This morning, I don’t know if I have the patience, but I do have the time. Almost entirely instrumental, it’s basically an experimental composition with a wide variety of keyboard and guitar sounds, woven together in a richly textured pastiche of tones. A dubbing picnic. On the plus side, this work is extraordinarily innovative (for 1973), with some very creative instrumentation, recording techniques, time signatures, and chord progressions. It’s very interesting to listen to this album and ask oneself how he’s making this or that particular sound. Definitely cool. On the minus side, there is little percussion (none on side one), and there is a complete lack of cohesion—a random mixture of moods that are missing a symphonic theme. It’s composed and arranged as if it were a high tech hobby. Some pitch problems on the backing vocals and lower end fretted string instruments. And the gimmicky voiceover naming added instruments is pedantic. When it finally gets to what one might call prog rock at 14:00 on side two, it’s substandard. Remember, we’d already heard Emerson, Lake & Palmer and early Pink Floyd. Most of the album doesn’t rise to the quality of the first four minutes. Very disappointing. So while the album is definitely good, it’s finally unsatisfying. Now on the other hand, if I were high . . . 3/5

why the growling? it was good before the growling

Ni fu, ni fa.

Amazing. I had no idea the famous instrumental piece is from this album.

As unique now as it was in 1973, definitely an album you must hear before you die.

never gonna listen to it again but i'm glad i did 2/5

So I had listened to this album a few times in the past, due to my deep prog roots – combined with how much buzz the album had gotten over the years, and I have to say that after today’s listen – my thoughts haven’t changed… #1 – It is an impressive work for a 19-year old who played all of the instruments at the time of its release… Most albums where the artist plays every instrument typically suffer from lack of diversity, but that was not a problem on this album – so that was good… #2 – There are sections of the music that I truly enjoyed, as there is no denying that… #3 – Why in the world he felt the need to “introduce” each of the instruments in “Part I” is beyond me, as that TOTALLY ruined whatever vibe he had going with me on that track… #4 – Same kinda thing on “Part II”, as I was sorta beginning to dig a section, and then he starts grunting for lack of a better word – and AGAIN, totally ruined whatever vibe he had going – I mean like WTF??? #5 – The “Single” track – which is what I’m guessing was the short-version released back in the day for radio, was fairly well-done – and again as I was enjoying the track, I half-expected something odd to jump out at me, but turns out that was the only unflawed track… Nothing amazing mind you, but certainly pleasant… #6 – The last song is a complete throwaway, and have no idea why he included it on this album, or what its purpose was… “Tubular Bells” still doesn’t do much for me overall, and saddened by the fact that A LOT of outstanding prog-rock albums that SHOULD be on this list – probably aren’t due to albums like this… Nothing but a 2 from me…

Another one my brother bought but I don’t know where this vinyl ended up. I remembered the music was widely known since it was in a popular movie. The wiki notes reminded me it was The Exorcist. It’s quite impressive that he was still a teenager when he wrote and played all the instruments. One thing I didn't remember is how good he was at playing guitar.He lays down some good shit The end of side 1 is priceless when the introduction of the instruments builds to a climax as we eagerly await the introduction of the tubular bells. The timing of this release could not have been better since the use of Hallucinogenics was reaching new heights. I have to call this a masterpiece.

Stunning piece of progressive rock

10/10, I love weird prog that was just such a cool album, I really loved it

Not sure it's dated too well, but can imagine that it sounded great on a decca music centre at the time, but was no more than background music when played today. Liked the grunts, hated the jig at the end, and astounded that he was 19 when he produced what would have been groundbreaking material at the time.

"Tubular Bells" is an hour of pretentious, self-indulgent trash. But, most damning of all, it's boring. Prog absolutely isn't my genre but even I know it should be complex, edgy, and challenging. The few times "Tubular Bells" broke away from being vanilla, it was to do something cringey. And don't get me started on that last track. Utter trash. Why's that on the album? Buggered if I know.

Fun and spooky mostly instrumental progressive album that still holds up today.

This is amazing, truly a masterpiece, I love the first track

I greatly prefer the 2003 remake, possibly because it is the first version I heard and possibly because it does sound much better from a pure sound quality perspective. Anyway, this album is a milestone in my musical journey because it was one of the first ones where I would concentrate on the sounds and on the sensations they gave me more than on words (of course, they're basically not there here) or other aspects. It's still one of my go-to albums to test audio stuff and I enjoy it greatly.

What a cool album. There were shades of Final Fantasy in this album. It was a cool touch to introduce all of the instruments as they were added. This feels like a world music album with the variety of instruments, including bagpipes and Spanish guitar. I'm only reviewing based on Tubular Bells pt 1 and 2. Such a pleasant album I'll likely listen to again. I thought the album was going to be very simple and repetitive due to the first few minutes. The only real downside of this album was the weird moaning in Pt. 2. Everything else was a high throughout the entirety. I enjoyed the fact that it was just 2 long songs that gave Mr. Oldfield room to draw out and experiment during songs, almost like a jam band. Would pair nicely with a day at the Renaissance Festival. This album is a sneaky 5 in my opinion. I was in between 4 and 5, but the uniqueness of the album and the fact that it elicited joy while I was deep cleaning the bathroom pushes it into 5 territory.

Groovy groovy groovy without exception this makes you remove all your clothes, douse yourself in ice cold water, and dance in the pitch black darkness

More cowbell please

Oh man, I was drawn into Oldfield's Tubular Bells. Both epic sides of this record really were mesmerizing and instrumentally beautiful. The growling on Side B was even acceptable :) The single that followed on Spotify was a nice bonus that connected me to my Irish/English ancestors. The other additional song, Sailor's Hornpipe, is bloody hilarious! I am grateful to have been invited to discover Mike Oldfield and look forward to checking out his catalogue. I have a feeling I'll be doing the jig!

Is there any instrument this guy can’t play??

Not too hot on the music, but the lyrics are great.

This thing has baselines! Good fun.

Une fois n'est pas coutume, je préfère le 2

I didn't know anything about this but actually really liked it. It was excellent music to have on while I was working. There were some weird choices and it was produced a bit strangely (differing levels, etc) but overall I thought this was great!

Listened Before? I'm not sure... I think so? I have no memory of the music, but the album art seems extremely familiar. I think I may have stumbled on this before, but its basically a new listen. If the album art wasn't already screaming "this is prog rock" the tracklist certainly does. One single piece split into two parts that are spread evenly across each side of a record. I find such a format sort of difficult to review. All I can say is that I understand the decision on format. While there are no words, the instrumental tells a certain story that is in constant evolution. Could easily imagine someone producing a visual accompaniment. Pretty incredible how the whole thing seamlessly transitions without ever feeling "forced." I do enjoy the goofy spoken narration of instruments around the 21 minute mark as he layers instruments over a repeating melody. I don't know why, but I was surprised when he said "Tubular Bells" and then the mixing pushed them front and center with a choral accompaniment. Well that was an enjoyable 26 minutes -- nice background music. Onto Pt II... honestly, the music itself is quite enjoyable, but what the everloving fuck are these vocals? It is as if they are channeling their inner werewolf and grumbling incoherent German(?). In a weird way it just works, but it is a curious choice just as with the narration in the first part. I'm left at the conclusion of this one a little confused. On one hand, I enjoyed it (especially the virtuouso guitar section around 17 min of pt II). On the other, I have no longing desire to go back for another journey. I think this is an incredible display of musical prowess from Oldfield, in not only playing a large number of the instrumentals, but also in arranging a coherent instrumental exploration of this nature. On a technical front I think this is very high; on enjoyment also reasonably high; but on a more nuanced, personal experience front, I'm kind of meh. So I'll be generous and say this is a 4 / 5 that I will probably never go through again. Added to Library? No Songs Added To Playlists:

01) Tubular Bells, Part One - 7,0 02) Tubular Bells, Part Two - 6,5 TOTAL: 6,75 (68/100) He was 19 when he recorded this. When I was 19 I longed for a PlayStation. There are some fine sounds here but I don't really like how all these parts that seem to have nothing in common are all glued together into just two songs. The sequence in Tubular Bells Pt. II with the grunted vocals is a bit disturbing, don't like it. Anyway, the first three minutes are the best and the rest is... so, so... The question is if it wasn't for "The Exorcist" would this album be as big as it was? Tubular Bells has sold more than 2.63 million copies in the UK, and an estimated 15 million worldwide. And he was only 19! I got my PlayStation in 1998. for my 20th birthday.

I was enjoying this as kind of a quirky background work music type of album but then the demon(?) voices started on track 2 amidst some pretty rockin guitar and I was jolted out of my flow. The rest of it was widely varied and interesting. Of course I recognized The Shining melody at the beginning. What exactly is going on in the last track?

One or two parts are OK at best. The rest is just the usual self indulgent prog twaddle.

Nr. 164/1001 Tubular Bells - Pt. 1 2/5 Tubular Bells - Pt. 2 2/5 Average: 2,0 I really didn't like the rock parts thrown into the songs.

Not my cup of tea or my glass of bourbon.

Wow. Part 1 you've all hesrd before, - mixes thing up but them, no need to add the names of the instruments as then are added. Really impacts the flow. Pt2 much better,,, until the groans come in. Them he starts the Sailor's hornpipe early. Forget the final track. Not sure what he was aiming for. Great skills and accomplishment.

I wasn't minding this until the growling began in track 2. It was just so unpleasant and unsettling to listen to. Like cookie monster was messing around on the mic.

2.8 - Dollar Tree version of a Philip Glass movie soundtrack (e.g Koyaanisqatsi). Uninteresting electronics, linear arrangements, thin textures. I really didn’t get much off this.

Fucking annoying

Me gustó mucho es una música muy relajante

This album is awesome. It was so odd hearing the first track and the super iconic Exorcist theme but then the song just goes in a completely different direction (and eventually comes back to the theme). It's incredible that he played almost everything on the album at only 19. I didn't really know what to expect from this one by was thoroughly impressed. Standout Tracks: Tubular Bells (Part One) and Tubular Bells (Part Two)

I've got a fever, and the only cure is more tubular bells

This is a great alumn! Love it! 5 stars!!!

Why does it sound so ominous Sounds kinda good

Easiest 5 of my life! There's something very special about this album that makes.me go back to it again and again, one of my absolute favourites I especially like it when he says 'Mandolin!'

Kjempeopplevelse! Hørte plate 2-3 ganger første dag

Rock progresivo de Mike Oldfield. Vinilo.

I love this because I love it

This was a very nice change of pace.

Classic album, never listened to it before but I get it now

When I saw that I had been generated Tubular Bells, I’ll admit I did get quite excited. This is an album where I’ve always thought that id have to get round to listening to it at some point, but just never have. I love the other Mike Oldfield songs I’ve heard (In Dulce Jubilo is one of the best Christmas songs ever written). Songs I already knew: Tubular Bells Pt. I (but just the opening minute or so) Favourites: Tubular Bells Pt. I, Tubular Bells Pt. II This album was quite phenomenal. There are parts where you can close your eyes and be in a horror film, a Spanish romance, or even in a high fantasy world. Tubular Bells Pt II even features some vocal from an actual orc around halfway through, or maybe it’s the demon from The Exorcist. When the actual tubular bells play towards the end of the opening track, I was covered in so many goosebumps that I wouldn’t be surprised if they were even on my eyeballs. This was incredible from front to back, and I’m very glad to have finally heard it.

Dangit 5 stars, no notes. Weird in the right ways, creative in the right ways, silly in the right ways. Prog rock isn't for everyone, and this is sort of a Prog Rock Ur-text. Kinda wild that he basically revolutionized prog rock AND horror movie soundtracks

Sooo wide ranging and interesting

An absolute classic. Yet another dad album. This record has been spun many a time in the Nichols household. Definitely recommend looking into the history of how this album was recorded, it's an incredible story. I am a big fan of around halfway into part 1. The harmonized guitars, the little bleeps of the synth, the piano riff, the humming. Every time I listen to this album I pick up on some new part that speaks to me in a different way. The caveman bit is just further proof of the total insanity and creative freedom that Mike was allowed to have for this project. A truly unique album that takes listeners on a journey through a range of musical styles and sounds. Oldfield's musicianship and versatility are on full display, making for a wild and unforgettable listening experience. "Grand piano Reed and pipe organ Glockenspiel Bass guitar Double-speed guitar Two slightly distorted guitars Mandolin Spanish guitar and, introducing, acoustic guitar Plus, tubular bells!"

Exceptional album. Grew up with this, he took music in a completely different direction when this album was made.

Another timeless record. Love the instrumentation on this more than most other Oldfield records

Amazing

Nostalgia é uma droga pesada

A bit self indulgent in places but a legendary album.

This is one of the closest things to a rock symphony that you can find. It is a highly orchestrated proggy, folk influenced suite in two parts that utilizes many instruments spanning several genres and features some incredible arranging and musicianship. To top it off, Mike Oldfield was 19 at the time of recording. To make something this magnificent at age 19 in 1973 is nothing short of astounding. This album was interesting and very moving.

I mean, starting off with the album's biggest contribution in the Exorcist theme, to the yelling section, this album is just damn interesting. Worth a revisit for sure.

Absolutely love this album, I owned it on vinyl.

I do love this - the voice at the end of Part 1 is great!

A prog classic, made especially impressive by being nearly a one man show. Just great, and right up my alley.

Interesting instrumentals, huge mood changes, and with an orchestral feel. All without a big mention of a drummer. Definitely a new age album. Feels almost timeless.

Unbelievable for what it is and when it was made.

Genius. I am blown away by the talent.

Love this album, a master piece from Mike Oldfield!

p299. 1973. 5 stars. Quality English musical eccentricity. I am not a fan of 70s prog-rock or pointless, meandering noodling with instruments - but this is good. What sets it well above the dross is the sheer variety of music themes and styles that Mike Oldfield manages to blend together, and none of them outstay their welcome before moving on the next one. Half a point deducted for the caveman grunts on side 2, but a bonus half a point for Vivian Stanshall.

Just a wonderful, and at times weird, journey. Good headphones and setting aside 30 minutes to just listen are highly recommended here.

AMAZING

Really dug this.

Aðeins öðruvísi kaos hérna. Mike Oldfield var 19 ára þegar hann gerði þessa plötu 😮 og hún er enn þann dag í dag algjört meistaraverk. Og ég er ekki sú eina sem hefur velt því fyrir sér hvort hann sé að growla á klingonsku þarna á tímabili skv smá gúgli.

Amazing album. Tubular Bells - the part everyone knows - is incredible, but for my money the crazy Pt. II is where it’s at! Love love love this album!

chills....... literally chills..........

Fantástico

Iconic

What is this an indie metroid-vania rogue-like side-scrolling action platformer OST?? From me that's high praise. Really interesting music. About 4 minutes into the first track I was fully hooked. Such an interesting recording environment. Texturally and compositionally so cool; event though each of the pieces are super long no one idea overstays its welcome. Some jarring moments too, like the first entrance of the electric guitar in the first track. Really feels like a series of vignettes, or like some long overture to an epic musical. Some cool Steve Reich-esque moments too of weird rhythmic groupings and melodic sequences that build tension, then release into something wildly unexpected and driving. So much to say because I feel like this album does so much! I am so impressed by the sheer output and pace of ideas in each part. Probably one of the most interesting albums I’ve heard in the sense that I was constantly being pleasantly surprised by a new musical thing. We gotta discuss the goblin singing in Pt. II. It’s so dank!!! But I’m also really confused about it. It’s also I think the first moment we get drums in the album? So strange and cool. I was half joking with my first line but this music is super linked to video game music in my mind; the goblin spitting molten hot fire over electric guitars and a backbeat reinforces this feeling. All in all this album is amazing! Funny, interesting, explosively creative and novel while thoroughly listenable all the way through. 5 from me!

Excited to finally listen to this whole album. Kind of psychedelic, experimental rock and folk. Reminded me of when I fell in love with the London Olympic Games opening ceremony music - I miss that soundtrack/playlist.

GREAT!

To be played at loud volume.

I discovered this album sometime in the last year—thanks to my friend Joey!—and have since bought it on a CD that I play once every other month or so while I’m working or cooking or doing some other mindless task that I’d like soundtracked. I love this album. Not only is it ominous, but hilarious. Not only experimental, but traditional. It’s unique and mind-bogglingly successful. Wildly impressive, and impressively wild. Impressive that a 19-year-old Oldfield put this together nearly single-handedly. And wild that it has had the profound effect on our cultural unconscious that it has had. It’s got to be among the most commercially successfully 20+ minute musical pieces this side of the 19th century. I can’t believe how popular it is. And it makes me giddy with excitement just thinking about its existence. This is why I love music. It’s stories like that of Tubular Bells. A strange coming-together of commercial forces—a young, risk-taking Richard Branson—artistic forces—the manic, frustrated, and frequently drunk Oldfield and all others who had a hand in this recording up to and including Master of Ceremonies Vivian Stanshall and photographer/graphic designer, Trevor Key—and cultural forces—a who’s who of English avant-psychedelic figures of the late 1960s that batted harebrained ideas around no matter how silly, pretentious, or irreverent—to manifest what we now know and love as Tubular Bells. It’s hard to even wrap your head around how this came to be let alone why. It’s like looking up at a cloud or a smattering of stars and searching for shapes, stories, or any other sort of meaning as you bask in the sheer beauty of all its madness. And it’s mad as hell, this album. And I love, love, love it. Lastly, the impact the opening theme of this album has had on horror movies thanks to Friedkin’s inclusion of it in his The Exorcist is undeniable. You can hear echos of Tubular Bells in just about every major horror soundtrack from Halloween to Hereditary. Which has very little to do with this music itself, but lends to the album’s aura, mystique, and strange hold it continues to have over us today. For further evidence of this just see Branson’s chilling 2013 statement re: the album and the consequential success of his company: "I never thought that the word 'tubular bells' was going to play such an important part in our lives ... Virgin going into space most likely wouldn't have existed if we hadn't hired that particular instrument." So one weird teenager’s odd-ball musical vision and crazed, uncompromising pursuit of such has directly and incidentally left an indelible mark on not only the soundscape of our collected nightmares, but also mankind’s pursuit of outer space. That’s about as close as we’ve ever come to actuating the plot of Bill and Ted’s Excellent Adventure. So, yeah, in my opinion, pretty cool album.

This album opened up this genre by being just a big hit.

I enjoyed every weird spacial moment of that. Iconic.

Without this, there'd be no Richard Branson ballooning. I guess that's a tolerable price.

07/06/2021 Ricardo was here... This is definitely one of the best things I ever listened... Fun fact: Mike oldfield was only 19 when he made this masterpiece. And he played most of the instruments.

An absolute classic! So glad to see this one pop up, i love super long tracks and these are some of the best! This continues to be a classic

I used to listen to this album endlessly, I could name the instruments as Mike said them. I especially loved saying "mandolin" and "slightly distorted guitar" for some reason. And then the final "Tubular Bells"! Brilliant. Love it. Admittedly, I had forgotten just how weird things got in the second half of Side 2 but still, so good to listen to it again.

Make no mistake, *Tubular Bells* is the tree that hides the weird and sometimes wonderful forest that Mike Oldfield planted for us in first decade of his long career, from the long suites of the seventies to his catchy pop hits sung by the pristine Maggie Reilly during the early eighties (just don't bother explore anything from later periods, it's quite pointless). But like all forests, that one can be confusing at times. True, there are treasures to dig out in each and every one of those early albums. Yet there are *also* jarring moments in them, stuff so cheesy you can't believe someone able to write and play so many sublime melodies and arrangements can also stumble and fall for such stupid-sounding ideas. But as perplexing as Oldfield's music can be, it seems like the man always spontaneously follows his instincts, and this wherever they lead him. And this is exactly what makes those early records of his endearing and one-of-a-kind, even with their many flaws. At least to me. There are two exceptions to this rule of thumb that Mike Oldfield's records are always flawed to an extent, which prove the man was able to write genuine masterpieces when rightly inspired. The second exception is *Ommadawn* (1975), and if you loved *Tubular Bells*, I advise you to check it out a.s.a.p.. But the very first exception is Oldfield's debut, obviously, from its famous introduction on grand piano and sped-up glockenspiel and farfisa organ (following an off-kilter, hypnotic rhythm pattern) to the layers of instruments piling up over a catchy bassline concluding Part One. In comparison, Part Two is both dreamier (those celtic folk interludes ; that utopian, "new age" atmosphere elsewhere) and more eccentric (that mock-hard rock thing with grunting vocals coming out of nowhere), going from one extreme to the next, exploring both burlesque and breathtaking sonic landscapes. Part 2 is indeed notoriously more "difficult" than Part 1. But as disjointed as it sounds, you could still find such contrasts in the *relatively* streamlined structure of the first part. One thing's for sure, the 180-degrees turns on this LP, from heavenly female choirs to heavy guitar riffs, will have your head spinning... Yet we're not talking about Emerson, Lake and Palmer here either. *Tubular Bells* is not merely demonstrative or performative. It has a heart, too--maybe a clunky one, in keeping with the pre-DIY manner in which it was conceptualized on tape shenanigans and other sort of try-and-error measures, but a heart nonetheless. In a way, Oldfield's magnum opus sure gives another sense to the word "ridiculous", both as a negative and a positive term. This album shouldn't work, and yet, minus very short WTF moments, it does. And even the WTF moments are actually playing a key part in all this, preventing this record to fall into all the usual pitfalls of prog-rock by using an out-of-the-box philosophy about what instrumentation should do. Case in point: the electric guitar. Oldfield had found from the get-go one of the most distinct and idiosyncratic sound in the long history of that instrument, a sound that he would refine again and again in later albums. As a result, his guitar playing in not only *dumbly* virtuositic ; it is also rich, hugely harmonic, evocative, playful, both strident and lush. Another paradox many rock fans can't quite put their fingers on. Even for some coming from the usual prog-rock ilk. To put it in a nutshell, you may love *Tubular Bells* or you may hate it, but it's hard to deny its originality and importance. This record *is* indeed an essential listen, both as an example and a *counterexample* of what made people tick during the early seventies. Such paradoxes are rare, but when they become such a popular cultural artefact, the end result becomes precious. Avant-garde has never sounded so easy on the ear... or maybe novelty pieces have never sounded so avant-garde, who knows? And all it took to accomplish that trick was a 19-year-old kid following a very personal vision--not exactly a genius, but at least a wizard when it came to sound and moods. Virgin Records founder Richard Branson can be thanked a thousand times over for giving a chance to such a young man with very few credentials going for him. Later on, Branson thought he would reach the heavens with Virgin Airlines or Virgin Galactic. But maybe the only time he *really* did so, was when he greenlighted *Tubular Bells*, all things considered... Number of albums left to review or just listen to: 833 Number of albums from the list I find relevant enough to be mandatory: 91 Albums from the list I *might* include in mine later on: 41 (including this one) Albums from the list I will certainly *not* include in mine (many others are more important): 36

Lange nicht gehört. Sehr geil.

Another long time favourite. Guilty pleasure boomer music.

Havnt listened to it for years, brilliant

cool

Ephemeral, fantastic, all-encompassing

What an album. I knew of Tubular Bells but had never listened to it. Since Friday I have had it on constant play. Just absolutely brilliant!!

What can you say? It's a masterpiece, I love it.

Really enjoyed this. It's weird but good

Banger! Insanely wide range of sounds, fun segments, everything. Love this album.